Reblogged from qisasukhra, translated by Robin Moger
Another extract from Youssef Rakha’s باولو [Paulo], recently acquired by Dar Al-Saqi, the second novel in a planned trilogy and the sequel to التماسيح (Dar Al-Saqi, 2012) [The Crocodiles]. The novel takes the form of fifty nine sequential blog entries numbered in reverse (i.e. starting with 59 and ending on 1), authored by the eponymous Paulo, one of the central characters from The Crocodiles, now an ex-poet, a figure on the independent cultural scene, a revolutionary and a covert operative for the shadowy Wadie Bey, who narrates his adventures in revolutionary and post-revolutionary Egypt. This extract finds Paulo addressing his much-abused cat, Atrees.
The terms naqib, usra and shu’ba are jargon from the Muslim Brotherhood’s internal organization. A naqib is the head or “captain” of an usra (family), a cell of maybe five or six Brothers, which itself belongs to a larger shu’ba, or “branch”.
Cairo International Film Festival Essay
The golden age of Egyptian cinema survived the fall of the monarchy, the departure of the British, the nationalization of the Suez Canal, and three wars with Israel — but not Cold War-era capitalism.
“Golden age” in this context is of course an amorphous term, but it does point to a palpable phenomenon which, in the form of roll film, remains testable for efficacy. Over roughly three decades from the beginning of 1940s to the end of the 1960s, a certain balance of quantity and quality was maintained. Art remained a meaningful business proposition even after capital was monopolized by the state and a centralized economy established.
Sing, Adaweyah! of the microbus’s wrath
That, rattling death and venom-fuming, a demented sphinx,
Carves through the flesh of traffic like missilery,
And brings car-owning Pasha to his knee.
Sing of the asphalt urchin, creature of the dust
Who in its smoggy wake performs noir rites;
His muffled yelps, as pædocock stretches his child’s asshole,
Transforming into clouds.
Murad came back in two packages. He was hit in the neck, they said. The squall of ammo was such the head wouldn’t stay in place.
After Mama was hauled to Tante Loulou’s I arranged him on a mattress in the living room, then I sat thinking how he hated the army.
I’d hated it too, twelve years before. Even though at that time conscripts weren’t being screwed. But to be in the barracks on July 23…
The Gunmen had timed it to make a point. The army is the state is the infidels is the enemy, they believe. And July 23, 1952? A coup.
It’s the coup you call R that WE call bloody C. How about everyone just calls it RC, I was thinking. Then I remembered.
Or the Beatification of the False Wali: Sufism, Suspense, and the Possibility of Sufi Realism
Even as it ages, a corpse shows no sign of decay. People start having visions of the dead man. He gives them advice in their dreams. When miracles begin to occur through his apparent intercession, he is declared a wali or vassal (of God). A shrine is built over his grave, and those who tend to it command kudos among his devotees…
It would be wrong to reduce the multifarious phenomena of Sufism to such a story. But in the Egyptian popular imagination, at least, that story remains the quintessential narrative of Sufism.
Sufi doctrine is impossible to sum up with any clarity anyway. Claimants range from the ninth-century Malamatiyya of Khorassan to “the Proof of Islam” Abu Hamid Al-Ghazali (1058-1111). The first group actively sought ill repute by flaunting sinfulness and making themselves worthy of malamah (or blame), the better to reject piety, which they saw as a worldly value and a factor in distance from God. The second is arguably the central figure in Sunni orthodoxy.
So the beatification of the wali is as good a way as any to set the dervish apart from the ordinary believer: the gnostic secrets he has access to (sometimes enabling him to perform miracles), the higher states of consciousness he experiences as a result of those secrets, his sheer unmediated joy (making him willing to give up all worldly powers and possessions), and his often strained relations with the Umma’s sober patriarchs.
It kind of grows out of traffic. The staccato hiss of an exhaust pipe begins to sound like record scratching. Skidding and braking, the vehicles resume their car horn concerto. Braying, bawling, crashing, farting, fortissimo hustling cut in. Then comes the imperious vroom of a makana – the Arabic corruption of the Italian word for ‘machine’ – as a motorcycle is called on the streets of Cairo…